Gretsch G5442BDC Electromatic Bass Review

Just mention names like George
Harrison, Duane Eddy, Chet Atkins, or
Brian Setzer, and tone, twang, style, and
attitude come to mind. Most certainly
bound by their pioneering musicality, these
iconic players also share the same choice
of instrument—Gretsch. But when digging
into the backstory of basses offered
by Gretsch, models that dotted their landscape—like the Bikini and Broadkaster—were not as well received as their guitar
lines. While the Tennessean-like
double-cutaway models in the ’60s were
a step in the right direction, some of the
designs introduced during the company’s
Baldwin-run days in the ’70s were downright
embarrassing.

Fast forward to 2003, when Gretsch
entered into a distribution deal with
Fender—a company that knows a thing
or two about basses and reissues. At long
last, the light switch came on. Gretsch
started focusing on basses again, this time
reaching back in order to move forward.
The basses were suddenly sexy again—with
names like White Falcon and Thunder
Jet—and Gretsch realized the value of
well-made, retro-styled basses that matched
the quality and playability of their 6-string
siblings. The latest bass to be added to
this history-infused line is the Gretsch
G5442BDC Electromatic.

No Kentucky Gentleman
The G5442BDC is a short-scale, 30 1/4"
hollowbody that screams cool right out of
the gate. I’ve had this review bass in my
possession for a couple of weeks now, and
I can’t help but smile every time I walk
into the room. It’s like a rare, vintage treasure
that should be way out of financial
reach—and yet it’s not. Even before you
pick it up, the Electromatic brings out nostalgic
feelings.

The Electromatic’s gleaming red double-cutaway
design is highlighted by off-white
binding around the body, down the neck,
and around the f-holes. With classic
“G”-arrow knobs, knurled strap buttons,
and its “G” tailpiece, this Korean-made
instrument has all the vintage touches you
would expect. The 5-ply maple body is
stocked with two Black Top Filter’Tron
pickups controlled by a 3-way selector, volume
controls for each pickup, a master volume,
and a master tone. Staying faithful to
the days when the Monkees were topping
the charts, the Electromatic has an Adjusto-Matic bridge with a rosewood base.

Build-wise, the G5442BDC is a solid,
well-constructed beauty. I found no
manufacturing flaws, the frets were filed
beautifully, the rosewood fretboard with
felt lightning fast and even, there were
no mystery rattles, and every component
was locked down tight. This is how a bass
should be built!

Hollow Bass, Huge Tone
Even my initial unplugged test of the
G5442BDC was a joy, because I could
actually hear what I was playing. When
I plugged in, my amp of choice was my
trusty Ampeg B-15, though for a modern
vibe I also used a Warwick CCL. When I
first strapped up and plugged in, the neck
took a dive, which is often to be expected
with a light-bodied bass. Though it wasn’t
a tough fight, I’m not a fan of battling my
instrument if I happen to take my hands
off, so I had to check the negative box on
this consideration. But once I got settled
into a comfortable position, I was ready to
get my groove on.

The first thing you’ll notice when
playing the Electromatic is that the
string height off the body is much
higher than, say, a P bass. If you are a
thumb-rest type of player, you will have
to make adjustments. There is a certain
discipline to playing an instrument like
the Electromatic, and for some players that
may be a deciding factor in whether to give
it serious consideration. For some players,
it will change the way you approach the
bass—which could be a good thing or a
bad thing. I found that my right hand was
more deliberate and accurate when playing
the G5442BDC because I was less dependent
on the anchor of a rest.

Plugged in, I rolled all the controls to
10 and set the 3-way switch to the middle
position, which engages both pickups. The
bass quickly sang out with a rich low end
and tight midrange. When my right hand
moved from the bridge to the neck position,
the smile widened on my face as the
tone eased into a more rounded and record friendly
sound.

When I toggled to the bridge pickup
while playing through the Warwick
amp, the tone predictably thinned out
and sounded, dare I say, modern—with
punchy mids. Sounding like a host of
other newer-production basses, this setting
didn’t impress me too much. But when I
switched to the neck pickup only, I felt like
I activated the Flux Capacitor and went
back in time 45 years. The essence of the
Electromatic is captured in this one little
setting, and I was instantly playing licks
like those from the R&B and soul records
of the ’60s. This tone was why the folks at
Gretsch rolled this little beast out in the
first place.

The Verdict
As I continued through the delusion that it
was 1968 and I was in Jefferson Airplane,
the Gretsch G5442BDC Electromatic really
impressed me. Gretsch has done away with
the awkward, clunky feel of past instruments
by constructing a bass that maintains
a retro vibe, yet plays every bit as fast as
more modern instruments.

Not without good reason, there
are players who shy away from the
resonance of hollowbody basses, but the
Electromatic has a legitimate chance of
changing the minds of some naysayers.
The G5442BDC’s short–scale label can
be deceiving, because the tag is often mistakenly
associated with an entry-level or
child’s instrument. But the Electromatic
has all the quality, punch, and attitude
of a 34"-scale bass—this bass packs a big
tone. You can take the Electromatic from
subtle to downright aggressive, and it welcomes
the challenge. All in all, it’s a well-constructed
instrument with lots of usable
tones and an undeniably cool retro vibe.

Steve Cook started as a touring bass player when printed maps were the only way to get there. His extensive studio and touring credits run the gamut from rock to jazz to country. Also a busy producer and WWII aviation junkie, he welcomes you to reach out via Twitter @shinybass.

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